Cosmin's Video Chat Lesson Notes |
GMC Forum > Discussion Boards > VINTAGE GMC > Community Activities and Tutorials > Ask an Instructor > Cosmin Lupu
IS THAT YOUR MAMA?
Nope didn't think so either. We all know parents don't get this.
I can show you how to be the virtuoso your folks could only dream about, but I first need your help:
* Pm me and I will show you where to start. I am online every day and I will help you out directly!
* Join my mentoring program. I will customize your learning experience in a way you haven't experienced before. We will have regular contact so that you can remain inspired every day and eventually reach a new level.
* Join my next video chat! GMC startpage holds a video chat schedule. We always cover a lot of ground and have fun. Remember that you don't need any previous knowledge, and you can be passive in the chat.
* Jam with me - you will find active collabs here.
* Post a topic on this board, guitar related or not - doesn't matter! You will find that chatting with instructors boosts your motivation to practice.
* You haven't missed my latest video lessons, have you?
* Oh and did you know that to become a killer guitarist you just need to focus on one thing? Everything
else is secondary. Pm me and I will explain.
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Jan 25 2012, 10:51 AM
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Hey guys! We'll be continuing the v-chat on modes series with the first part on the Dorian mode tomorrow at 8PM as usual! See you in the chat room!
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Jan 25 2012, 11:15 PM
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Here are the lesson notes, guitar pro file and, backing track for the last v-chat session on the Ionian mode applications
 Progression: C5 G5 A5 C5 E5 F5 Emphasis: Major 7th and 4th scale degrees. Scales used: Ionian and C major pentatonic   As you will see in the tabs, I concocted phrases by using the previously discussed licks  so things should be pretty familiar.You may have guessed but, yes, there is an assignment  I present you a second backing track, which is played in the key of E major, so what you have to do, is take the phrases in the tabs and find the right positions to make them fit in the D Ionian context. How's that for a little challenge? (that means the progression will be D5 A5 B5 D5 F#5 G5)Then, record yourselves over the backing track and post your takes here where we can discuss them  see you tomorrow at the Dorian mash-up! Cosmin
Attached File(s)
Ionian_Mode_Part_2.gp5 ( 10.23K )
Number of downloads: 167
Ionian_Mode_Part_2.pdf ( 267.4K )
Number of downloads: 240
Ionian_BT__D_.mp3 ( 3.61MB )
Number of downloads: 196
Ionian_BT__C_.mp3 ( 3.61MB )
Number of downloads: 218 |
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Jan 31 2012, 12:31 PM
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Lesson notes from January 26th 2012
Dorian Mode - Part 1 Here's the stuff about the Dorian Building blocks Dorian Mode Formula: 1 2 b3 4 5 6 b7 (ex: A B C D E F# G A - A Dorian) Differentiating scale degrees: major 6th (and 2th) Chord types over which the mode fits best: m, m6, m6/9, m7, m9 Typical progressions: Im IV; Im IIM; Im bIII IV; Im VM IV Im; Im IIm bIII IIm Observations: - if you want to emphasize the Dorian mode over a minor chord, highlight the major 6th and the 2nd - the fact that the 6th is major and not minor, gives this mode a 'sweeter' sound than the heavy sounding of the Aeolian - if we remove the 2nd and the 6th from the Dorian mode formula, we end up with the minor pentatonic scale -> use it in Dorian contexts while adding and emphasizing the 2nd (9th) and major 6th to obtain the Dorian sound. - the Dorian mode can be heard in blues, jazz and fusion a lot of times. I have prepared a backing track for you guys so next time we shall be discussing Dorian phrases in a real context See you this Thursday, at 8 PM London time for the second session on the Dorian Mode and in the mean time, check out the GP file and the attached PDF.
Attached File(s)
Dorian_Part_1.gp5 ( 3.56K )
Number of downloads: 170
Dorian_Part_1.pdf ( 130.68K )
Number of downloads: 266 |
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Feb 9 2012, 02:10 PM
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Hey there homeys!
Lesson notes, guitar pro file and, backing track for the last v-chat session on the Dorian mode applications are here for ya! Progression: Bm7 Emajor Bm7 Amajor E/G# Bm7 Emajor Bm7 F#m7 C#m7 Emphasis: Major 6th and 2nd scale degrees. Scales you can use: B dorian, B minor pentatonic   The GP file has all the phrases wrapped about the A Dorian mode but the backing track is in the B Dorian mode, so as you might've guessed, your homework would consist in shifting all the phrases up a whole step and thus playing them in B Dorian! Are you up to the challenge? As usual, I would be happy to see your recordings so do not be shy and please feel free to experiment See you tonight (8 PM London time) for the first session on the Phrygian mode at the v-chat! Cosmin
Attached File(s)
Dorian_Part_2.gp5 ( 5.3K )
Number of downloads: 173
Dorian_Part_2.pdf ( 174.98K )
Number of downloads: 244
B_Dorian_Jam_Track.wav ( 13.63MB )
Number of downloads: 213 |
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Feb 15 2012, 09:37 AM
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Hey gang! The video chat session has been reprogrammed for SUNDAY 8PM London time! See you then
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Feb 18 2012, 02:35 PM
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Lesson notes from February 9th 2012
Phrygian Mode - Part 1 Here are the basics: Phrygian Mode Formula: 1 b2 b3 4 5 b6 b7 Differentiating scale degrees: b2 Chord types over which the mode fits best: mb9, m7b9, mb6b8 Typical progressions: Im bII, Im bIII bII, Im bVIIm, Im bII bVIIm Observations: - the Phrygian mode can be emphasized by using the b2 - it can be superimposed over a major chord (the example in which we used the E Phrygian mode over the Emajor chord instead of the E minor chord) -> Flamenco music sound! - it can be used in the context of modern metal and metal in general as it has its unique flavor Experiment both approaches -> key centered playing in which we make up Phrygian phrases over a specific Phrygian progression or over a specific chord, such as the example 4, found in the PDF and GP files below. See you tomorrow at 8 PM London time for a session of Phrygian applications! Rock'n'rooolll Cosmin
Attached File(s)
Phrygian_Mode_Part_1.gp5 ( 4.51K )
Number of downloads: 197
Phrygian_Mode_Part_1.pdf ( 172.12K )
Number of downloads: 237 |
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Feb 29 2012, 06:15 PM
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Lesson notes from February 23th 2012
Lydian Mode - Part 1 Building bricks: Formula: 1 2 3 #4 5 6 7 Differentiating scale degrees: #4 Chord types over which the mode fits best: maj, maj6, maj6/9, maj7, maj13 all these can feature the #11 each Typical progressions: I II, I II VIIm, I VIIm, I IIIm VIIm Observations: - the lydian mode needs more bars to develop and fully shine, so using it over progressions built on the harmonized steps of the mode itself could be a very good solution - emphasizing on the #4 or #11th - use it whenever you want to induce a little sense of mystery - this effect is subtle but given by the fact that the #4th is 3 whole steps up from the root See you tomorrow at 8 PM London time for a SESSION ON CREATIVE THINKING WITH THE GUITAR IN YOUR HANDS STANDARD TUNED THIS TIME Keep rocking mates! Cosmin
Attached File(s)
Lydian_Mode_Part_1.gp5 ( 3.29K )
Number of downloads: 163
Lydian_Mode_Part_1.pdf ( 109.37K )
Number of downloads: 218 |
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Mar 13 2012, 11:40 AM
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Hey guys! Don't forget to use the tracks in this thread below for exercising your rhythmic phrases
https://www.guitarmasterclass.net/guitar_fo...showtopic=41914 As we discussed, everything from small vamps, rhythmic phrases and licks can be used with these tracks Pay attention to keep the timing and tightness (tapping your foot over the passages where the drums are missing can help a lot) The next session will be tomorrow evening at 10 PM London time and the one next week - on Wednesday, 8 PM London time due to my gigs this week and the next. all the best you guys and see you tomorrow nite Cosmin This post has been edited by Cosmin Lupu: Mar 13 2012, 11:42 AM |
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Mar 16 2012, 01:09 PM
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Hey guys! Here's the GP file and PDF containing the things we've been discussing about on Wednesday night
1) The lick I started working on for the Lydian Spring Love Song Collab - pay attention to the point where you have to shift to using your pick again after the tapped note - that spot is very tricky  2) As for the three AP patterns - you know the rules - go slow till you get everything flowing and clean - increase speed while maintaining a relaxed stance for both hands - pay attention to the fact that the B string has only two notes when ascending and descending - the only exception being at the descending run in Pattern 2 - where I cheated hahahaha and used 3 notes per string These patterns can be applied to virtually EVERY scale out there so let me know how it goes see you NEXT WEDNESDAY at 8 PM London Time for a first session on the Mixolydian mode rock n roooooooll Cosmin
Attached File(s)
Lydian_Mode_Part_2.gp5 ( 3.99K )
Number of downloads: 150
Lydian_Mode_Part_2.pdf ( 165.89K )
Number of downloads: 224 |
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Mar 24 2012, 01:07 AM
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Hey gang here are the lesson notes from March 21st 2012
Mixolydian Mode - Part 1 Formula: 1 2 3 4 5 6 b7 Differentiating scale degrees: b7 Chord types over which the mode fits best: 7,9,13, dom sus4 Typical progressions: I bVII; I bVII IV; I7 Vm; I7 IV; I7 I7sus4; I VIm bVII Observations: - because of the b7 differentiating scale degree and the 1,3,5 steps - this mode gives birth to dominant chords and arpeggios - very much encountered in blues, jazz, country, funk and rock - it's the funkier alternative to the sweet Ionian mode - remove the 4 and b7 -> Major Pentatonic Scale (1 2 3 5 6) Check out the examples in the GP file and let's go through them till next Thursday See you at 8PM next time mates! Cosmin
Attached File(s)
Mixolydian_Part_1.gp5 ( 5.52K )
Number of downloads: 152
Mixolydian_Part_1.pdf ( 197.9K )
Number of downloads: 296 |
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Apr 9 2012, 02:18 PM
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Hey everyone!
Here are the important knowledge elements in the Aeolian mode: Aeolian Mode - Part 1 Guys, I summed up the essentials we discussed last Thursday and we shall develop the ideas on Saturday, so stay tuned and let me know if you have any questions, ok? Aeolian Mode Formula: 1 2 b3 4 5 b6 b7 ( example:C D Eb F G Ab Bb C) Differentiating scale degrees: b6 Chord types over which the mode fits best: m, m6, m7, m9, m11 Typical progressions: Im b VII bVI (ex: Am7 G7 FM7); Im IV (ex: Am7 Dm7); I V (ex: Am7 Em7); I bIII bVII (Am7 CM7 G7); Im bVI (Am7 FM7); Observations: - The Aeolian mode is the most important of the minor modes - it is the basis for natural minor scale theory - It can be regarded as a combo between the Phrygian and the Dorian modes, the result being a gloomy and sad sound. - Try the examples in the PDF and GP files and play around with the harmonic progression types - try to apply the formulas for the E Aeolian mode and see what chords you can use! See you on Thursday at 8 PM London time, for the second session on the Aeolian mode - we are working on the progression which I uploaded for the new Driving at night collab! See you there mates! Cosmin This post has been edited by Cosmin Lupu: Apr 21 2012, 03:44 PM
Attached File(s)
Aeolian_Mode_Part_1.gp5 ( 5.02K )
Number of downloads: 145
Aeolian_Mode_Part_1.pdf ( 174.89K )
Number of downloads: 260 |
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Apr 16 2012, 04:24 PM
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Ahoy mates! Here are the exercises from Thursday!
I would totally recommend trying the second one using various techniques, such as hybrid picking, sweeping and alternate picking. The notes are the same, but the techniques are different and they will allow you to workout on each of those using the same arpeggio shapes The shapes in Exercise 2 can be played against the 'Driving at night' video collab, going on here: https://www.guitarmasterclass.net/guitar_fo...20&start=20 See you next Thursday - 8 o Clock PM London time - for a big dose of Locrian ideas! Cosmin This post has been edited by Cosmin Lupu: Apr 16 2012, 04:26 PM
Attached File(s)
Aeolian_Mode_Part_2.gp5 ( 2.75K )
Number of downloads: 153
Aeolian_Mode_Part_2.pdf ( 105.96K )
Number of downloads: 218 |
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Apr 21 2012, 03:57 PM
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Aloha crew!
here are the examples which we discussed over on Thursday and some theoretical notions on the Locrian mode: Locrian Mode Formula: 1 b2 b3 4 b5 b6 b7 ( example:C D Eb F G Ab Bb C) Differentiating scale degree: b5 Chord types over which the mode fits best: diminished, m7b5, m7b5b9 Typical progressions: Im7b5 IVm7 (ex: Bm7b5 Em7); Im7b5 bVIIm7 (ex: Bm7b5 Am7) Observations: - used in the very opposite contexts: jazz and metal - it is also called the diminished mode, due to the fact that it fits well over the diminished chord structure (1 b3 b5) and over the m7b5 chord, usually the chord bearing the function of II in the II V I minor jazz progression. - it can be used in the context of developing a Locrian based melody over a single chord played over a greater number of bars - static situation - In example 3 (GP/ PDF file) you will notice the progression: C G/B Am - in this case (major key progression) the VII chord is rarely used, so it is substituted with the first inversion of a V chord (in our case first inversion of G in the context of the C major scale based progression) We regard B as the root note and the chord becomes Bm#5 we can use the Locrian mode over it as you will notice. Try to analyze the notes making up the chords used in the examples and the notes played over them in order to better understand how the modes function. It is a good exercise and I am trying to do it with you in the chat as often as I can that's why I always tell you what notes go where try it! It's very good See you next Thursday at 8 PM London time mates! Cosmin This post has been edited by Cosmin Lupu: Apr 21 2012, 03:57 PM
Attached File(s)
Locian_Mode_Part_1.gp5 ( 4.04K )
Number of downloads: 145
Locian_Mode_Part_1.pdf ( 143.79K )
Number of downloads: 352 |
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